View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository ‘The unrest and movement of our century’: the universe of The Wrecker Roderick Watson This paper will propose that The Wrecker offers a darkly original vision of culture and capitalism in a wholly modern theatre of transatlantic, Pacific, and indeed globalised travel, business, and ultimately, murder. The book’s amoral spirit is equally ‘modern’ for—despite a closing vision of greed and murder worthy of Chaucer’s ‘Pardoner’s Tale’—‘Our criminals are a most pleasing crew and leave the dock with scarce a stain upon their character.’1 The Stevenson/Osborne collaboration is a sprawling, episodic adventure story, a comedy of brash manners and something of a detective mystery whose youth-led plot is characterised by a kaleidoscopic versatility, an indefatigable optimism, and an innocent corruption. But the novel also offers a prophetically postmodern vision of a depthless world of travel, exile, novelty and rootlessness; of ‘discarded sons’ who inherit and confidently inhabit a world they neither fully understand nor fully belong to; of a ‘brave new world’ in which every character is somehow always already a castaway. It is a black comedy of capitalism and existential absurdity that plays ‘art’ against commerce, ambition against incompetence and accident against design, all in ‘an excellent example of the Blind Man’s Buff that we call life.’2 Seen in these terms, The Wrecker is a significantly underestimated part of Stevenson’s oeuvre. (Apart from anything else it contains some of his best writing about the sea, the South Seas and sailing ships.) Its reputation may have been clouded by the collaboration with Lloyd Osbourne, or by the autobiographical echoes that recur throughout the book (especially in the Parisian scenes), or by its lengthy picaresque progress; nevertheless, perhaps it is time to take another look at an almost forgotten Stevenson novel which, for a number of years after its first publication, actually outsold The Master of Ballantrae.3 Let us start with Stevenson’s own estimate of his theme, from the Epilogue dedicated to Will H. Low: Why dedicate to you a tale of a cast so modern:—full of details of our barbaric manners and unstable morals; full of the need and the lust of money, so that there is scarce a page in which the dollars do not jingle; full of the unrest and movement of our century, so that the reader is hurried from place to place and sea to sea, and the book is less a romance than a panorama—in the end as blood-bespattered as an epic? (The Wrecker, pp. 362-3) In his correspondence Stevenson has a habit of depreciating his own work, and yet here, as in a letter to Charles Baxter written while he was working on The Wrecker, he allows himself a serious note: I believe The Wrecker is a good yarn of its poor sort, and it is certainly well nourished with facts; no realist can touch me there; for by this time I do begin to know something of life in the XIXth century, which no novelist either in France or England seems to know much of. 4 Stevenson’s early distrust of ‘realism’ may have begun to change (‘A Humble Remonstrance’ was written in 1884, six years earlier) and the last chapter of The Wrecker contains an ironic reflection on such concerns when the crew is faking the log of the Flying Scud only to find entries already in it that seem less than convincing: ‘Well, it doesn’t look like real life—that’s all I can say,’ returned Wicks. ‘It’s the way it was, though,’ argued Carthew. ‘So it is; and what the better are we for that, if it don’t look so?’ cried the captain, sounding unwonted depths of art criticism. (p. 351) But Stevenson is still no Balzac, whom he saw as being ‘smothered under forcible-feeble detail’,5 and the novel makes significant use of symbolic devices, not the least of which is his consistent liking for using structures of the double, by which Loudon Dodd and Jim Pinkerton play against each other in a manner reminiscent (according to Edwin Eigner) of David Balfour and Alan Breck Stewart;6 and more especially by his use of Norris Carthew as Loudon’s doppelgänger—a shadowy ‘other’ whom he has to track down, in order to see what he himself might nearly have become: ‘The fact is I think I know the man,’ said I. ‘I think I’m looking for him. I rather think he is my long-lost brother.’ ‘Not twins, anyway,’ returned Stennis. (p. 282) (In Stennis’s wry rejoinder we hear Stevenson’s own voice, in another self- aware art-critical interjection.) And of course Loudon ends up working for Carthew, ending the book as he began it, by playing the aesthete (this time in a lavishly furnished schooner cabin) supported once again by invisible money and an absent partner: ‘He runs me now. It’s all his money.’ (p. 6). (One of the continuing themes in this novel is the author’s often satirical view of the almost parasitical place of art in a world of harsh economic pressures and commerce—reflections born of his own social status, his never-ending financial imperatives and the long wrangle with his father.)7 So what is the nature of Stevenson’s new found ‘realism’ in this ‘panorama’, in this ‘tale of a cast so modern’? With this question in mind it will be useful to consider the book under three headings linked to economic, symbolic and finally to philosophical issues. The first section will consider Stevenson’s insight into the world of business and the pursuit of profit as it reveals itself through Loudon Dodd’s adventures in free trade. The second section ‘Discarded Sons’ will explore the symbolic resonance of these adventures as we see how closely Stevenson associates the spirit of capitalist enterprise with a strange kind of orphaned innocence, whose adolescent enthusiasm for getting ahead is blind to the moral implications and the human cost of its actions. In both sections Stevenson’s account of the factual intricacies of this brave new world of affairs and profit can be said to have a realistic, if darkly satirical, grounding. In the final section, ‘The Blind Man’s Buff that we call life’, Stevenson’s characters’ petty engagement with ambition, greed and chance can be seen to reveal a much wider philosophical vision on his part, in what amounts to an existential insight into the cruelty and absurdity at the heart of existence. (1) Business life in the XIXth Century In effect the novel is a long ‘yarn’ retold by Loudon Dodd—including other narratives told within his own—but from the opening and self-consciously romantic scene from which Dodd tells his retrospective tale, the amoral and global economic ethos of the book is made abundantly clear, by Dodd himself, and by the cosmopolitan characters around him, all of whom take it wholly for granted: The various English, Americans, Germans, Poles, Corsicans, and Scots—the merchants and the clerks of Tai-o-hae—deserted their places of business, and gathered, according to invariable custom, on the road before the club. (p. 4) The talk turns to trade and affairs, initiated by Loudon’s remarks on a recent wreck and the ensuing insurance claim: ‘Talk of good business!’ he says, ‘I know nothing better than a schooner, a competent captain, and a sound reliable reef.’ (p. 9) ‘Good business! There’s no such thing!’ said the Glasgow man. ‘Nobody makes anything but the missionaries—dash it!’ ‘I don’t know,’ said another; ‘there’s a good deal in opium.’ ‘It’s a good job to strike a tabooed pearl-island—say about the fourth year,’ remarked a third, ‘skim the whole lagoon on the sly, and up stick and away before the French get wind of you.’ ‘A pig nokket of cold is good,’ observed a German. ‘There’s something in wrecks, too,’ said Haven. (pp. 9-10) Stevenson has already remarked at this point that if ‘one becomes used to a certain laxity of moral tone which prevails [. .] on smuggling, ship-scuttling, barratry, piracy, the labour trade, and other kindred fields of human activity, he will find Polynesia no less amusing and no less instructive than Pall Mall or Paris.’(p. 9) —Precisely: and for the rest of the novel, Stevenson’s proposal will be that the true mechanisms of the centres of civilisation can be most clearly discerned out here on the open margins of the new world. This is not a frontier ethic, in other words, but a fair reflection of what lies at home, in London, Paris or New York.8 After all, this was exactly what Loudon’s early education at the Muskegon Commercial College was about, with its model stock market, to train young masters of the universe in shifting alliances and in the use of power and exploitation in both their personal and their economic affairs. (In this respect Stevenson’s novel looks like a forerunner to Tom Wolfe’s Bonfire of the Vanities, 1987, and A Man in Full, 1998). An early review from the Atlantic Monthly had no doubts about what was being proposed: ‘if a home-truth should be carefully looked for amid all this immorality, it might be found in the similarity of the commercial scenes to the smuggling and wrecking ones.’9 The reviewer has already noted that ‘It would not do for a Sunday-school prize’ and it is as if Long John Silver has moved from Treasure Island to the Bourse, to join Teach from The Master of Ballantrae; and indeed Dodd describes his partner Pinkerton by telling us that ‘Reality was his romance’: Suppose a man were to dig up a galleon on the Coromandel coast [.